Robert Lloyd, Los Angeles Times
Select another critic »
For 381 reviews, this critic has graded:
-
56% higher than the average critic
-
6% same as the average critic
-
38% lower than the average critic
On average, this critic grades 0.7 points lower than other critics.
(0-100 point scale)
Robert Lloyd's Scores
- TV
| Average review score: | 63 |
|---|---|
| Highest review score: |
Critic Score
100
|
| Lowest review score: |
Critic Score
20
|
Score distribution:
-
Positive: 201 out of 381
-
Mixed: 161 out of 381
-
Negative: 19 out of 381
381
tv reviews
- By critic score
-
-
Robert Lloyd 70
While supercool science may be the hook, the real draw of Eleventh Hour is Sewell. -
-
-
Robert Lloyd 70
There are moments that require you not to think too hard, and some of the black humor doesn't overcome its fundamental nastiness. But on the whole, it's a superior package, intelligently constructed and handsomely executed. -
-
-
Robert Lloyd 70
Demanding absolute sense or ironclad consistency from a show like this is like wanting a butterfly to fly a straighter line, not only pointless but somehow unnatural. -
-
-
Robert Lloyd 70
The show fails only when it wants to make you feel something warm about their mission, rather than just letting you enjoy the icy suspense and snappy dialogue. -
-
-
Robert Lloyd 70
The cast is excellent, and there's potential here, even though tonight's opening episode, as pilots will, tries a little too hard. -
-
-
Robert Lloyd 70
Clearly flung at the Spike's male demo–-"Get More Action" is the network tagline, which implies a viewership not getting as much as it would like--it has a slightly sour edge that some will just read as The Way Things Are. -
-
-
Robert Lloyd 70
It is, like much British comedy, unabashedly vulgar where its American cousins are relatively coy, an attitude that feels alternately trying and refreshingly healthy. You will recall that the Puritans brought their neuroses here. The kids, or rather the young adults playing the kids, are all very good. -
-
-
Robert Lloyd 70
There are people in this world who find flatulence mightily entertaining, and they should be happy here. -
-
-
Robert Lloyd 70
There are well-written and well-mounted scenes and some good performances. It is not without suspense. But even at four hours, House of Saddam feels incomplete and scattered--a lessened, not a heightened reality. -
-
-
Robert Lloyd 70
All in all, this is a dynamic, addictive rendition of a complicated novel that catches the spirit of Dickens' "roaring streets" where "the noisy and the eager, and the arrogant and the froward and the vain, fretted and chafed, and made their usual uproar." -
-
-
Robert Lloyd 70
I recommend the series, though Sunday's opening film, "Sidetracked," does present a bit of a stumbling block. -
-
-
Robert Lloyd 70
Like everything else in the world, the show is faster, louder and busier, which would not necessarily seem to be the best environment for learning. -
-
-
Robert Lloyd 70
Important Things is inconsistent--the sketches are on the whole less funny than the stand-up, but they have their moments, and the show is on the whole worthwhile. -
-
-
Robert Lloyd 70
It was, on the whole, a very good show that emphasized performances. -
-
-
Robert Lloyd 70
Roth is a fine actor and a welcome presence on the small screen, and he manages to integrate a catalog of amazing facts into a character. But the show will be better for giving him more to do than bust liars, then explain how he did it. -
-
-
Robert Lloyd 70
The personal business is interesting enough, if here and there inexplicable--like life, I hear you sigh--and does help make sense of why the characters act so needy around the office. But what Southland does best is to portray police work as a job--boring, trying, exciting by turns. -
-
-
Robert Lloyd 70
It has a kind of sunny charm, a premise fit for a novel, and is built upon a pair of strong female leads, a rare enough thing in sitcoms. Poehler and Jones have a nice, contrapuntal rhythm. I stamp this show: approved. -
-
-
Robert Lloyd 70
Given that Spartacus does not stumble in what it sets out to do, one's objections to the show, if objections one has, will be moral, or simple matters of taste, to the extent that those two concerns can actually be separated. -
-
-
Robert Lloyd 70
Hosted by plus-size supermodel Emme, More to Love adds an extra layer of pathos to the genre's usual Harlequin hearts and flowers, its candlelit rooms, poolside chats and painfully drawn out ritual eliminations. -
-
-
Robert Lloyd 70
In most other respects, it is a standard three-camera sitcom, in which two bickering siblings in their mid-30s (Mitchell and Strahan) find themselves back living with their parents (Weathers and Pounder). Which is not to call it run-of-the-mill--it has some charm and personality and keeps its focus unusually tight on the four principals. -
-
-
Robert Lloyd 70
Like "Hank," The Middle is no Next New Thing; indeed, both argue for the opposite, the pleasures of the known, of craft and of watching people who know what they're doing do it. -
-
-
Robert Lloyd 70
New beginnings can be difficult; there are problems here, though they are not irremediable. By and large the show improves on its pilot. -
-
-
Robert Lloyd 70
Like the women in it, the show is solid and professional and holds together well. -
-
-
Robert Lloyd 70
I rather enjoyed the pilot. Perhaps it's a Canadian thing, but like "Flashpoint," Rookie Blue doesn't oversell itself. It is modest and plain in a way that makes even its less likely moments feel credible enough. -
-
-
Robert Lloyd 70
Things get pretty wacky by the end--actually, they get wacky well before the end--but however unlikely, the proceedings are kept watchable by a cast that notably includes Ian McShane, Donald Sutherland, Rufus Sewell, and Eddie Redmayne. -
-
-
Robert Lloyd 70
Viewers sad about the end of "Happy Town" and looking for another creepy municipal drama filmed in Canada may find this a port in the storm, though it is more cheaply appointed and less spectacularly cast. Still, it would be pointless to attack the show for not achieving things that are beyond its ambitions. -
-
-
Robert Lloyd 70
Its pleasures are simple and familiar. There is the usual mix of boastful losers and shy winners, of tiresome cutting remarks and delightful delighted approval. -
-
-
Robert Lloyd 70
He is kind of irritating.... but Passmore largely pulls it off, in part by making the character a bit daffy; he just can't help himself. And the producers surround him with jerks and dweebs and men less handsome or clever than himself to ensure that he's the person with whom we identify and whose opinions we share; the plot conveniently supports his genius. -
-
-
Robert Lloyd 70
Fine character actors abound, playing people on the rural edges, but it's the main character and Olyphant's performance that lift the sometimes labored plot lines and carry them over the finish line. -
-
-
Robert Lloyd 70
Just what they'll do with all this newfound mojo is hard to say, so packed is the pilot with varying sorts of business and attitudes, the soundtrack obligingly swinging from comic-bright to melancholy-minor, to action-bold. Developments late in the episode suggest that No Ordinary Family will look a lot more like "Heroes" than it will, say, "The Adventures of Superman," a course we have seen to be fraught with danger. -
